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Differences in the Use and Purpose of Tonality between the 18th and 20th Centuries
This site introduces unknown composer Emanuel Bach (C. P. E. Bach).
This English version was translated from Japanese one by ChatGPT.
Differences in the Use and Purpose of Tonality between the 18th Century, Especially Emanuel Bach, and the 20th Century
I asked ChatGPT4o: "Could you explain how the 12 major and 12 minor keys were used in the 18th century?"
In 18th-century music, the 12 major and 12 minor keys were used differently depending on the context and purpose. During this period, tonality was considered an important means of expressing emotions and atmosphere in music, and each key was thought to have its own unique character. Below is an explanation of the general use of major and minor keys. [The answers from ChatGPT4o have been summarized.]
1. Usage of Major Keys
Major keys were used to express brightness, stability, joy, and festive atmospheres.
- C major (C-dur): Purity, simplicity, solemnity. Often used in religious music and festive pieces.Examples: Johann Sebastian Bachʼs “The Well-Tempered Clavier” Book 1, Prelude and Fugue No. 1 BWV 846, Mozartʼs Symphony No. 41 “Jupiter” K. 551
- G major (G-dur): Calmness, elegance, pastoral atmosphere. Suitable for chamber music and dances.Examples: Bachʼs “Partita No. 3 BWV 1006” from “Sonatas and Partitas for Solo Violin,” Mozartʼs “Eine kleine Nachtmusik K. 525”
- D major (D-dur): Brilliance, triumph, glory. Frequently used in festive compositions with trumpets and timpani.Examples: Bachʼs “Air” from “Orchestral Suite No. 3 BWV 1068,” Haydnʼs Symphony No. 104 “London”
- A major (A-dur): Warmth, gentle joy. Used in lyrical movements of concertos and sonatas.Examples: Mozartʼs Piano Concerto No. 23 K. 488, Beethovenʼs Violin Sonata No. 9 “Kreutzer”
- F major (F-dur): Serenity, calmness, natural beauty. Used in pastoral scenes and moderate sections of religious music.Examples: Beethovenʼs Symphony No. 6 “Pastoral,” Bachʼs “Sheep May Safely Graze” from Cantata No. 208 “Hunting Cantata”
- B♭ major (B♭-dur): Grandeur, dignity. Suitable for religious and magnificent orchestral works.Examples: Haydnʼs Symphony No. 102, Mozartʼs Piano Concerto No. 27 K. 595
- E♭ major (E♭-dur): Dignity, heroic atmosphere. Used to express grandeur in symphonies and concertos.Examples: Haydnʼs Symphony No. 103 “Drumroll,” Mozartʼs Piano Concerto No. 22.
- A♭ major (A♭-dur): Soft and calm elegance. Used in chamber music and lyrical movements.Examples: Beethovenʼs Piano Sonata No. 12.
- D♭ major (D♭-dur): Warmth, intimate emotion. Favored in religious and tranquil compositions.Examples: Schubertʼs Impromptu Op. 142-3.
- F♯ major (F♯-dur): Bright and sparkling, but rarely used. Employed in virtuosic keyboard music and chamber music.Examples: Bachʼs Prelude and Fugue BWV 858 from “The Well-Tempered Clavier” Book 1.
- B major (B-dur): Brilliance, transparency. Used in festive scenes and lyrical compositions.Examples: Bachʼs Mass in B minor (though the entire piece centers on minor keys).
- C♯ major (C♯-dur): Extremely bright and transparent sound. Due to the many accidentals, it was often limited to keyboard music.Examples: Bachʼs Prelude and Fugue BWV 848 from “The Well-Tempered Clavier” Book 1.
2. Usage of Minor Keys
Minor keys were used to express sadness, suffering, anxiety, and introspective emotions.
- A minor (a-moll): Simple sadness, inner turmoil. Frequently used in Baroque instrumental music and Empfindsamer Stil works.Examples: Bachʼs “Partita No. 2 BWV 1004” from “Sonatas and Partitas for Solo Violin,” Mozartʼs Piano Sonata No. 8 K. 310
- E minor (e-moll): Melancholy, deep sadness. Suitable for emotionally charged solo pieces and arias.Examples: “Erbarme dich, mein Gott” from Bachʼs “St Matthew Passion BWV 244,” Mozartʼs Symphony No. 40 K. 550
- C minor (c-moll): Solemnity, dramatic tension. Used in religious music and oratorios for solemn scenes.Examples: Bachʼs “Passacaglia and Fugue BWV 582,” Mozartʼs Piano Concerto No. 24 K. 491
- G minor (g-moll): Intense emotion, tragedy. Used in opera and theatrical music to create tension.Examples: “O Mensch, bewein dein Sünde groß BWV 622” from Bachʼs “Orgelbüchlein,” Mozartʼs Symphony No. 25 K. 183
- D minor (d-moll): Heaviness, solemn sadness. Common in Baroque religious music and requiems.Examples: Bachʼs “Toccata and Fugue in D minor BWV 565,” Mozartʼs Requiem K. 626
- F minor (f-moll): Deep despair, introspective suffering. Frequently used in solo keyboard pieces and slow movements.Examples: Bachʼs “The Well-Tempered Clavier” Book 1 BWV 857, Haydnʼs String Quartet Op. 20-5
- B♭ minor (B♭-moll): Expresses deep sadness and inner turmoil. Particularly used in keyboard and chamber music.Examples: Chopinʼs Prelude No. 16 (though from a later period, the character of this key remains consistent).
- E♭ minor (E♭-moll): Despair, loneliness, deep gloom. Very dark sound, rarely used in the 18th century.Examples: Bachʼs Prelude and Fugue BWV 877 from “The Well-Tempered Clavier” Book 2.
- A♭ minor (A♭-moll): Dark and heavy sound. Due to many accidentals, it was rarely used but employed for deep expression.Examples: Bachʼs “The Well-Tempered Clavier” Book 2 BWV 891.
- F♯ minor (F♯-moll): Introspective sadness, delicate emotion. Used in keyboard and chamber music to create a sentimental atmosphere.Examples: Bachʼs “The Well-Tempered Clavier” Book 1 BWV 859.
- C♯ minor (C♯-moll): Dark and passionate sound. Suitable for tragic compositions and dramatic developments.Examples: Bachʼs Fugue BWV 849 (“The Well-Tempered Clavier” Book 1).
- B minor (B-moll): Soft melancholy, inner sadness. Has a solemn and profound sound, used in religious music and slow movements.Examples: Bachʼs “Mass in B minor,” the second movement of Mozartʼs Symphony No. 40.
3. Background of Key Selection
18th-century composers, influenced by the Affektenlehre (Doctrine of Affections) and the Empfindsamer Stil, composed music considering the unique character and sound of each key, selecting keys according to the content of the piece and the performance context. The choice of key was an important element for composers to effectively convey the emotions and stories they wanted to express to the audience. Additionally, the characteristics of instruments and tuning systems (such as well-tempered and meantone tuning) also affected the sound of keys, influencing compositional choices.
Johann Sebastian Bachʼs “The Well-Tempered Clavier” intentionally arranged the 12 major and 12 minor keys, exploring the possibilities of all keys, and played an important role in expanding the use of tonality.
I asked ChatGPT4o: "In the 20th century, were these keys used differently than in the 18th century?"
In 20th-century music, keys (major and minor) were used in ways significantly different from the 18th century. This change was driven by the collapse of tonality and the emergence of new musical languages, which greatly altered the meaning and role of keys. Below is an explanation of these differences.
1. Change in the Role of Tonality
18th Century (Baroque and Classical Periods)
- Major and minor keys had clear characterizations and were strictly chosen for emotional expression.
- Tonality based on functional harmony (the relationship of tonic, dominant, and subdominant) was dominant.
20th Century (Modern and Contemporary Music)
- Tonality became ambiguous, and atonal and polytonal music emerged.
- The emotional stereotypes of major and minor keys faded, and they were increasingly treated as elements of sound and color.
- Keys were used primarily for their sonic effects, with traditional meanings diminishing.
2. Specific Uses of Keys in the 20th Century
① New Uses of Major Keys
- Major keys did not necessarily convey brightness and positivity as in the 18th century; they could also express irony or coldness.
- Tonality was used symbolically or fragmentarily, and rarely dominated entire pieces.
Examples:
- Shostakovichʼs Symphony No. 5 in D minor ends in D major, but gives an impression of irony rather than victory.
- In Stravinskyʼs “The Rite of Spring,” traditional tonality is disrupted, and major and minor keys intersect, emphasizing sonic effects.
② New Uses of Minor Keys
- Minor keys were not limited to expressing sadness; they were also used to convey anxiety, chaos, and violence.
- Minor key sounds often appeared temporarily or momentarily without adhering to a single key.
Examples:
- In Bartókʼs String Quartet No. 4, the tension of minor keys and dissonance intertwine to create intense energy.
- Shostakovichʼs String Quartet No. 8 is written in D minor, encompassing not only sadness and despair but also violent impulses.
3. Expansion of Tonality and New Techniques
① Atonality
- Music that completely steps outside the framework of tonality.
- Major and minor sounds appear incidentally but do not carry traditional meanings.
- Developed by composers like Schoenberg and Berg.
Example:
Schoenbergʼs “Five Pieces for Orchestra”
② Twelve-Tone Technique (Dodecaphony)
- A technique that treats all 12 tones equally, deliberately excluding tonality.
- While the traditional concept of keys disappears, fragments of major and minor keys may be included within the 12 tones.
Example:
Schoenbergʼs String Quartet No. 4
③ Incorporation of Folk and Ethnic Music
- Folk music modes and irregular tonalities were actively introduced, creating sounds beyond the framework of major and minor keys.
Example:
Bartókʼs “Romanian Folk Dances”
④ Influence of Jazz and Popular Music
- Blue notes and modes were added to major and minor keys, expanding sounds in ways different from the past.
Example:
Gershwinʼs “Rhapsody in Blue”
4. Summary
The treatment of keys in 20th-century music shifted from the role of emotional expression in the 18th century to a role as part of sound and structure. The characteristic framework of major and minor keys became ambiguous, allowing them to be used freely within new methods of expression. As a result, tonality evolved into something with diverse interpretations and effects.
I asked ChatGPT4o: "In Emanuel Bachʼs music, isnʼt it often the case that minor sounds are incorporated into major pieces?"
Indeed, in the music of Carl Philipp Emanuel Bach, it is often observed that minor sounds are skillfully incorporated into major compositions. This is closely related to his style, known as the **Empfindsamer Stil (Sensitive Style)**.
Emanuel Bach was a representative composer of the Empfindsamer Stil, which emphasized the delicate transitions and contrasts of emotions. This style frequently employed sudden modulations and unexpected harmonic progressions, creating contrasts of light and shadow and tension and relaxation in the music.
- By inserting minor sounds within major keys, a unique expression of brightness and shadow is created.
- Even if a piece is in a major key overall, the introduction of harmonies in minor or chromatic movements episodically adds tension and depth to the music.
2. Specific Examples
① Keyboard Concerto in C minor Wq. 31 (H. 441)
- The first movement begins dramatically in C minor, but in the development section, while minor sounds are emphasized, moments of major brightness occasionally appear.
- Especially in the development section of the theme, there is a repeated dialogue of tension between minor and major, highlighting emotional fluctuations.
② Keyboard Concerto in B♭ major Wq. 28 (H. 434)
- A bright B♭ major work, but in the development section, minor harmonies are introduced, giving the piece shadows and depth.
- Features of the Empfindsamer Stil, such as unexpected harmonic progressions and chromatic modulations, are observed.
③ Sonata in A minor Wq. 62/21 (H. 131)
- Although the entire piece is in a minor key, in the third movement Allegretto siciliano e scherzando, major sounds appear temporarily, creating a skillful contrast of light and shadow.
3. Techniques for Incorporating Minor into Major
Emanuel Bach incorporated minor sounds into major keys using the following techniques:
- Sudden modulations: Modulations from major to **parallel keys (relative minor)** or **related keys (dominant minor, subdominant minor)**.
- Chromatic harmonic progressions: Creating tension using unexpected diminished chords or **Neapolitan chords (♭II)**.
- Insertion of minor themes: Inserting minor themes or episodes within major movements to add drama to the music.
- Strong accents and rhythms: Combining minor sounds with syncopation or irregular rhythms to emphasize emotional changes.
This contrast of major and minor sounds is at the core of the Empfindsamer Stil that Emanuel Bach emphasized.
- The goal was for music not to remain in a single emotion but to depict emotional transitions and inner conflicts.
- This emotional fluctuation influenced later composers like Haydn and Mozart, further developing into Romantic music.
5. Summary
Emanuel Bachʼs music weaves minor shadows into the brightness of major keys, creating emotional depth and diversity. This technique, characteristic of the Empfindsamer Stil, is expressed through bold modulations and harmonic changes, bringing tension and surprise to the listener.
This fusion of major and minor is one of the charms of his music and played an important role in the evolution of music from the 18th to the 19th century.
I asked ChatGPT4o: "Is there a difference in how major and minor keys intersect in Emanuel Bachʼs music compared to 20th-century music?"
There are clear differences in the intersection of major and minor keys in the music of Emanuel Bach and 20th-century music. Both have distinct characteristics in terms of handling tonality, musical purpose, and approach to emotional expression. Below is a detailed explanation of these differences.
1. Differences in Handling Tonality
- Major and minor keys are used contrastively within a clear tonal framework.
- Based on the main key, minor sounds are introduced as temporary emotional changes.
- Modulations and harmonic changes are intentionally designed to create drama and emotional fluctuation.
Specific Examples:
- Introducing minor harmonies in the development section to create tension, resolving by returning to major in the recapitulation.
- Using ornaments and dissonances to create moments of shadow within major keys.
20th Century Music
- The framework of tonality is often ambiguous or completely collapsed (atonality, polytonality).
- Major and minor sounds coexist simultaneously or are intentionally blurred.
- Tonality is used not necessarily for emotional expression but as a sonic effect or structural means.
Specific Examples:
- Shostakovich adds ironic minor elements to major conclusions.
- In Stravinskyʼs “The Rite of Spring,” the distinction between major and minor is blurred, creating tension through rhythm and sonic density.
2. Differences in Emotional Expression
- Uses the contrast of major and minor to express subtle emotional transitions.
- Emotional movement unfolds within a predictable structure (sonata form, rondo form, etc.).
- The insertion of minor keys indicates inner conflict or temporary shadow, ultimately returning to harmony or stability.
Examples:
- In the Keyboard Concerto in B♭ major Wq. 28, minor motifs are inserted within the bright major key to express emotional fluctuations.
- In the Sonata in E minor Wq. 62/17, major and minor keys intersect between movements, repeating restraint and release.
20th Century Composers
- The intersection of major and minor keys is used not only for emotional expression but also for social and political messages or abstract sonic effects.
- Tonality is manipulated to express irony, anxiety, nihilism, and other ambiguous and complex emotions.
- The contrast of major and minor creates tension without resolution or persistent instability.
Examples:
- The final movement of Shostakovichʼs Symphony No. 5 ends in D major but subtly resonates with minor motifs, suggesting ironic victory.
- In Bartókʼs String Quartet No. 4, ambiguous intersections of major and minor express primitive energy.
3. Technical Differences
- Uses traditional modulations such as dominant and subdominant keys for planned tonal changes.
- Incorporates chromatic progressions and ornaments to weave temporary minor sounds into major keys.
Examples:
- Temporary introduction of minor using **Neapolitan chords (♭II)**.
- Emphasizing minor sounds with diminished chords to create tension.
20th Century Composers
- Polytonality: Overlapping multiple keys simultaneously to allow major and minor sounds to coexist.
- Atonality: Blurring tonality itself, intentionally erasing the distinction between major and minor.
- Actively using dissonance to disrupt the contrast of major and minor, creating tension and chaos.
Examples:
- The harmony in Stravinskyʼs “The Rite of Spring” combines dissonance and polytonality to create a wild tension.
- In Messiaenʼs works, the use of unique modes transforms the concept of major and minor into something colorful and symbolic.
4. Summary: Differences between Emanuel Bach and the 20th Century
| Characteristic | Emanuel Bach (18th Century) | 20th Century Music |
|---|
| Handling of Tonality | Based on a clear main key, [keys different from the main key] are temporary contrasts | Ambiguity and collapse of tonality, [major and minor] coexist simultaneously |
| Emotional Expression | Emphasis on subtle emotional transitions, harmony, and resolution | Anxiety, irony, nihilism, unresolved tension |
| Technique | Traditional modulations and harmony, chromatic changes | Atonality, polytonality, [frequent use of] dissonance, new harmonies |
| Purpose of Expression | Inner and delicate emotional expression | Sonic effects, social messages, abstract expression |
Conclusion
In Emanuel Bachʼs music, the intersection of major and minor keys was a structural means to create subtle emotional expressions and drama. In contrast, in 20th-century music, the framework of tonality became ambiguous or collapsed, and major and minor keys were used as more free and diverse means of expression. This allowed music to express more complex and multifaceted emotions.